Acoustic proportions defined by complex logarithms: The Difference Engine derives its name from the first mechanical calculating machine proposed by Charles Babbage in 1822, which can be considered the first computer created by men. Kurt Nimmo, the person behind Fosel, hints at the fact that the music on his latest release is computer-generated, stressing the man versus machine idiom. A monstrous machinery dominates the barely lit, dusty hall with its metallic wheels, columns and sector gears. Tabs tripping the carry lever as it passes from nine to zero, whilst spiral arms grasp at the shiny wheels to increment their position by one. Almost unnoticed, towards the humid stone walls, unfold the sound waves and extend to the vertical barriers that limit the building's capacity.
Focusing on the music, The Difference Engine is characterised by a descriptive approach. That is, rather than developing a string of consecutive events, Fosel shows a single impression - the frozen still - from all angles in order to unveil the last detail. This shifts the action from perception to reflection, from the actual tone sequence to its internal resonance and reverberation. There is a strong suggestive quality within those slowly shifting aurora figures. Carefully crafted, they still offer enough variety to prevent dull monotony, without giving away the colours of the night. For how long would The Difference Engine continue calculating converging polynomials and spinning its single-high teeth? This question seems to fade as time slows down to a grinding halt and gives way to eternal gloom.